Nicolò Corso (Nicolò di Lombarduccio da Pieve di Vico), Italian (active Liguria), documented 1469-1503 – Enthroned Saint Jerome, with Angels Philadelphia Museum of Art

The composition presents a central figure seated upon a throne, dominating the vertical format. He is depicted with a long, flowing beard and hair, indicative of age and wisdom, and his right hand is raised in what appears to be a gesture of blessing or instruction. The attire consists of elaborate red robes, adorned with intricate patterns and embellishments, suggesting high status and ecclesiastical authority. A tall, pointed hat further emphasizes this position.
Flanking the central figure are two angelic figures, positioned on either side. They appear youthful, dressed in green garments, and each holds a musical instrument – one a lute, the other a small harp. Their gazes are directed towards the seated man, suggesting reverence or participation in his presence. Above him, within an arched niche painted with gold leaf, two more angels are visible, also bearing crosses.
The throne itself rests upon a checkered floor pattern, which provides a sense of grounding and stability to the scene. The use of red as the dominant color for both the robes and the background niche creates a visual unity and reinforces the figure’s importance. Gold leaf is employed extensively, particularly in the architectural elements and highlights on the clothing, contributing to an overall impression of opulence and divine grace.
Subtleties within the work suggest layers of meaning beyond a straightforward depiction of power. The gesture of the central figure could be interpreted as both benevolent guidance and authoritative command. The presence of the angels, particularly their musical instruments, introduces elements of harmony and spiritual celebration. Their youthful appearance contrasts with the aged wisdom of the seated man, possibly symbolizing the continuity between generations or the eternal nature of faith. The checkered floor might allude to a symbolic duality – perhaps representing earthly and heavenly realms, or good and evil – though this is open to interpretation. Overall, the painting conveys a sense of solemnity, piety, and hierarchical order characteristic of religious art from the period.